management discussion

Transcription

1 38 management and analysis

2 Balaji Telefilms Limited Annual Report Media and Entertainment Industry 2009 was a difficult year for the media and entertainment industry, as the overall economy passed through a slowdown. Advertising, which constitutes 38% of the industry s revenue, declined significantly on account of shrinking ad budgets in the corporate world. Sectors like films, radio and out-of-home media (OOH) recorded negative growth during the year. However, the television industry witnessed decent growth, along with the internet, gaming and animation industries touching double digit growth, albeit on a smaller base. Hence, the industry as a whole grew marginally by 1.4% to Rs. 58,700 crores, against a 12% growth in With improvement in liquidity and global economies, showing a sign of recovery, India s GDP is expected to touch 9% annually by , according to the Economic Advisory Council. The media and entertainment industry is, therefore, estimated to register 13% CAGR for the next five years, till Growth Rate (%) Size (Rs. in Billion) Size of the Media & Entertainment Industry India holds for growth in spends, going forward. Even though it is challenging to reach the levels of countries like the US, Japan and UK, due to a very large population base and lower spending power per capita, there is an ample scope to follow China and enhance this ratio. Television industry Television is the largest segment of the Indian M&E industry, representing over 40% share of the total market. Today, 50 crore Indians depend on television as a source of mass entertainment, and this figure is rising, thanks to consistent fall in prices of TV sets and aggressive cable and satellite distribution in untapped areas. Of the total 12.9 crore TV households, 9.5 crore households possess a cable connection. As per reliable research, on an average, an individual daily spends two and a half hours watching TV. in minutes Average Time Spent Watching TV % 12.2% 1.4% 11.1% 13.8% 12.5% 14.5% 14.1% (Source : FICCI-KPMG Indian Media & Entertainment Industry Report 2010) Traditionally, India s total media spend has been significantly lower compared to other countries globally. In fact, at 0.40%, the media spend, as a percentage of GDP, is almost half of the world s average of 0.80%, and is much lower compared to developed countries like the US and Japan. Even a country like China with the world s largest population, enjoys a media spend ratio at 0.75%, in line with the world average. This indicates the potential (Source : FICCI-KPMG Indian Media & Entertainment Industry Report 2010) Despite the economic challenges of 2009, the television industry grew modestly (6.6%) becoming a Rs. 25,700- crore market. With growing demand for different genres and niches (news, kids, infotainment and lifestyle) the absolute number of channels increased from 120 in 2003 to over 460 in There has been a greater acceptability for niche channels in 2009, such as lifestylebased channels (IMAGINE Good Times, Discovery Travel & Living), youth-based channels (UTV Bindaas, MTV) and channels focusing on male audiences (UTV Action). Moreover, Regionalization has become the industry s new buzzword with rapid rise in literacy, consumption and

3 40 disposable incomes in Tier 2 and Tier 3 cities. Advertisers have also enhanced their rural focus, following urban market fascination. Besides, demand for regional content is also growing. No wonder, broadcasters and content creators are equally keen to capitalise on this opportunity. Interestingly, the Hindi General Entertainment Channel (GEC) genre attracted 25% viewership, followed by Regional GEC (24%) and Hindi movies genre (12%). The balance 39% viewership was divided among news, music, sports and kids. However, more precisely in the Hindi speaking belt the Hindi GEC genre enjoyed 36% viewership and in South India the Regional GEC genre enjoyed 49% viewership. In terms of content, 2009 witnessed the share of reality TV rising on popular GEC channels. Shows like Sach ka Samna, Khatron ke Khiladi, Rakhi ka Swayamvar and Pati Patni aur Woh targeted both the female and the male audiences. Besides, the singing and dancing competition format shows strengthening popularity. However, the fiction genre continued to dominate as daily soaps ruled the GECs. But socially relevant and regionalized / rural content were increasingly favoured. There is a growing amount of industry fragmentation due to the introduction of newer genres and expansion of the channel universe. The viewers are exposed to attractive options and hence have become more demanding. Gone are the days, when the highest rated shows could get TRPs (Television Rating points) as high as 20 points. On the back of rapid change in audience preferences, the lifespan of a show reduced to one to two years. Moreover, due to intense competition and pressure from advertisers, broadcasters have also become impatient in continuing to air a low-rated show. Viewership share by genres All India South India Hindi Speaking Hindi GEC, 25% Music, 2% Hindi Movies, 12% Regional GEC, 24% Hindi News, 4% Regional News, 3% Infotainment, 1% Sports, 3% Kids, 6% Others, 20% Hindi GEC, 4% Music, 1% Hindi Movies, 4% Regional GEC, 49% Hindi News, 0% Regional News, 6% Infotainment, 1% Sports, 2% Kids, 5% Others, 28% Hindi GEC, 36% Music, 3% Hindi Movies, 17% Regional GEC, 11% Hindi News, 6% Regional News, 2% Infotainment, 1% Sports, 3% Kids, 7% Others, 14% (Source : FICCI-KPMG Indian Media & Entertainment Industry Report 2010)

4 Balaji Telefilms Limited Annual Report The growth in subscription revenue will be mainly due to digitization, which brings about more transparency in the declaration process apart from rising penetration. The (Direct-To-Home) DTH television connections are expected to reach 4.3 crore connections by Going forward, considering the fast recovery in Indian economy, the television industry is estimated to grow at a CAGR of 15% to attain a size of Rs. 52,100 crores by The two contributors, subscription and advertisement are expected to grow more or less at 15% and maintain a 65:35 mix. The growth in subscription revenue will be mainly due to digitization, which brings about more transparency in the declaration process apart from rising penetration. The (Direct-To-Home) DTH television connections are expected to increase at a CAGR of 22% to 4.3 crore connections by On the other hand, the digital cable connection is projected to rise to 4 crores by 2014 recording a CAGR of 60%. Hence, the share of analogue cable connection, which stands at a whopping 80% is anticipated to decline to 40% by Besides, Internet Protocol television (IPTV) holds a huge potential, but may take time to grow due to very low internet penetration in India. 690 Number of Cable & Satellite Subscribers IPTV DTH Digital Analog Total in Lacs (Source : FICCI-KPMG Indian Media & Entertainment Industry Report 2010) Subscription Rate Amount in Rs. IPTV DTH Digital Analog P 2011P 2012P 2013P 2014P (Source : FICCI-KPMG Indian Media & Entertainment Industry Report 2010) Hence, differentiation is key to survival in the competitive television industry, good concepts, differentiated genres, interactive game shows, experimentation with newer formats and shows, exploring new talent, will help to manage and compete with the growing number of shows, channels and genres on Indian Television. Motion pictures India is the only country which averages a release of three films everyday in some or the other language. To watch these movies nearly 300 crore movie tickets are sold in India, nearly double of that of USA. Moreover, films form one of the most important content sources to the Music, Radio and Television industries. Historically, the Indian film industry represents 18% of the total media and entertainment industry. However, 2009 was one of the worst years for the film industry, facing unprecedented losses on account of the stand-off between the Multiplex Owners and Film Producers. The cold war between the exhibitors and producers, which lasted for two months stalled several movie releases in

5 42 multiplexes. With more than 1000 screens, multiplexes constitute 60% of total revenue from Hindi film exhibition. So although, they reached an amicable solution eventually the damage was already done. For the first time the overall film industry shrunk by 14.4% from Rs. 10,400 crores in 2008 to Rs. 8,900 crores in It also was hit because of the general recession and low acceptance of below par content, churned by production houses as compared to previous years. As per industry reports, the year 2009 had only four blockbusters out of 242 Hindi films, released during the year. The industry gets three fourth of the revenue from domestic theatrical exhibition and the balance through home videos, cable and satellite rights, overseas exhibition and other avenues like release on DTH. On the piracy front, following in the footsteps of the Tamil Nadu government, the Maharashtra and Karnataka governments also amended an Act to curb film and music piracy. As per experts, films industry is losing close to a whopping Rs crores (Business Standard - 2nd Oct 2009) because of piracy, which is 40% of the current industry size. Barring 2009, the film industry is estimated to grow at CAGR of 9% for the coming five years to become an almost Rs. 14,000-crore industry. All the three industry verticals i.e. production, distribution and exhibition, have their own dynamics, but the exhibition part is expected to be the main growth driver. Rising popularity and development of multiplexes, even in small cities and towns will not only improve the volume, due to better viewing experience, but will also lead to higher average realization per ticket. Growing disposable incomes, favourable demographic changes, increase in the number of films targeted at niche audiences and entertainment tax benefits granted by various states are contributing to the growth of multiplexes. As per the current rate, by 2013 India is likely to have over 1,600 screens, double of what we have currently. In addition, miniplex operators have their own plans to develop 500 miniplexes in next few years. On the distribution side, digitization has significantly benefited the industry. The distributors can release large number of prints across geographies simultaneously and in much shorter time. Simultaneously, it also saves the significant cost of developing the traditional physical prints. In fact, the whole film industry is moving towards the triple D structure, which means digital production, digital post production and digital release. Globally, 2009 was a remarkable year because it saw the release of James Cameron s Avatar in 2D and 3D format, which became the first film ever to gross over USD 2 billion worldwide. This highlights the potential of films as an entertainment source. Hence, continued interest by global studios in India, investments in technology such as 3D and digitization, introduction of miniplexes, coupled with strong government support against piracy is likely to help the Indian film industry strengthen its position in the years to come. New Media Business Traditionally, the media and entertainment space was ruled by only two screens - big screen (cinema) and small screen (television). However, in the last few years computer screens and mobile screens have rapidly grown as a destination of entertainment, referred to as new media. Consumers are now looking upon the personal computer (PC) and cell phone as an alternative source to entertainment. There have been groundbreaking innovations, such as Broadband, Bluetooth,

6 Balaji Telefilms Limited Annual Report With 3G services to be rolled out by next year, the VAS industry is expected to increase its share manifold, with some industry estimates pegging the figure at Rs. 200 billion by Wi-Fi, Wi-Max and 3G (Third Generation), among others that support disparate forms of content. Similar developments were witnessed in the domain of devices that are designed to support such networks. Mobile handsets are getting more sophisticated, sleeker and more advanced in terms of powerful processors, increased memory space, larger screens, open operating systems and offering features that were unimaginable earlier. Hence, the new media is revolutionizing the consumer market, reconciling the functionalities of customer end terminal devices like TV, PCs and mobile phones. Such devices are witnessing exponential demand growth among teenagers and professionals with high disposable income. Mobile Value Added Service (VAS) has become a significant driver for service providers, with potential to grow attractively in future. The VAS market, currently valued at Rs. 65 billion (USD 1.35 billion), constitutes about 9-10% of the total revenues for telecom operators in India with short messaging service (SMS) alone accounting for 44% of that share. With 3G services to be rolled out by next year, the VAS industry is expected to increase its share manifold, with some industry estimates pegging the figure at Rs. 200 billion by 2015 (Source: Gartner). India s telecom industry grew at 60% CAGR (Source: COAI and Gartner) in the last five years, one of the highest compared to the world s other telecom markets. Interestingly, India is the world s second largest telecom market after China with a 60 crore-plus mobile subscriber base (wireless subscriber base increased from million in March 2010 to million at the end of April- 2010, registering 2.89% growth). Wireless tele-density stands at (Source: Size (Rs. in Crore) Wireless Subscriber Base Mar 04 Mar 05 Mar 06 Mar 07 Mar 08 Mar 08 Dec 09 Mar 10 (Source: Internet & Mobile Association of India) During April 2010, India s telecom industry witnessed a landmark government decision, as it finally declared auction of 3G spectrum and invited open bids from telecom companies across India. 3G is the latest technology, which provides various advantages such as high data transfer rates, map and positioning services, multiplayer gaming and enables high-resolution video and multimedia services with streaming audio and video capabilities opening up opportunities in the space of Mobile TV and Mobile Video. On the other hand, India s internet use witnessed steady growth. PC users in urban areas have increased from 5.9 crore in 2006 to around 10 crore (Source: every telecommunication provider is providing internet service packaged with other services at affordable rates. With sprawling cyber cafes and easy availability of broadband connection, internet is now in reach of common individuals. Concurrently, internet usage on the move is also gaining fast user acceptance by the high-speed

7 44 data cards, public Wi-Fi hot spots and internet access on mobile phone. As per Internet and Mobile Association of India, almost 75% of urban PC users claim to be accessing internet for information and entertainment. In fact, internet as a medium for socializing and leisure activities like downloading music and videos are gaining incredible popularity, compared with other services. Even the advertisers are making higher allocation towards internet advertising, leveraging this growing trend. All these factors augur well for content providers like Balaji. SCOT Analysis Strength High Production Capabilities Huge infrastructure Talent Hunting / Artist Management Pioneers in creating special Content for Mobile Solid Financial Position Dependence on few key people for concept & creativity Genre specific presence - mainly in fiction Opportunities Create content for other regional languages / international market Enter non fiction, reality segments Monetization of content through other delivery platforms Expand presence in digital space Threats Rising Competition Piracy Gaining popularity of other entertainment options like sports, gaming, internet, malls, travelling etc Change in Government Policies Rising Labour Cost & Energy Cost Strong Presence across Hindi, Tamil, Telegu, Malayalam & Kannada. Only production house to have the shows on air in 9 different channels A good mix of sponsored & commissioned shows Integrated film maker - Production, Marketing & Distribution of films Stringent Risk Management practices. Challenges High Cost of Production against industry average Concentrated Clients

8 Balaji Telefilms Limited Annual Report Internet as a medium for socializing and leisure activities like downloading music and videos are gaining incredible popularity, compared with other services. Risk Management Risk type Risk implication Risk mitigation Market risks Economic slowdown risk Corporates may reduce their advertising budget for television, jeopardizing per-hour realizations. Balaji has implemented strict cost control initiatives per episode. The Company evaluates and analyzes the risk-reward scenario before commencing film production or any other major project. Competition risk Rising competition may reduce bargaining power with channels. Balaji is the undisputed leader in the Hindi GEC space and enjoys strong brand recognition with shows commanding a good premium. Risk of unfavourable government policies Business risks Single-channel dependence risk Risk of changing audience preferences Human resource risk Talent retention and management risk Any unprecedented change in government policy may increase the overall cost. Dependence on a single channel may be detrimental to Rapid change in viewer tastes and preferences can impact adversely. The depends on key talent (story writers, creative heads, lead artists, directors, technicians, among others). Non-availability of such resources could impact. Balaji is suitably positioned to absorb, recover or pass on the rise in taxes to channels, distributors or exhibitors. Balaji now enjoys a strong presence across five Hindi GEC, with not over 30% revenue from any one channel. Balaji s dedicated team conducts research to understand evolving audience preferences. One result of such an effort is the new media. Balaji has always attracted the best of talent in the industry. It has created stars and transformed artists careers.

9 46 Operational overview An analysis of the Company s operations is included on page of this annual report. Internal Control Systems and Adequacy Balaji has a well-defined organisational structure and a strong Internal Audit process for maximum utilisation of its resources and safeguarding the same from misuse. The Company has a strong internal audit program, exercised through a Docket Management System. An independent commercial team further controls the hiring and requisitions of materials, which allows enhanced focus on operational efficiencies. The Company s Audit Committee, along with the Board regularly review the operations and adequacies of internal controls on an ongoing basis. Financial Review Results of operation Turnover The total turnover for declined by 48% to Rs. 15, Lacs from Rs. 29, Lacs in on account of a sharp decline in realization per hour, coupled with a considerable drop in programming hours of content for the commissioned show. Revenue contribution from commissioned shows was Rs. 12,800 Lacs from Rs. 26,844 Lacs in , while that of sponsored programming was Rs. 2,444 Lacs from Rs. 2,648 Lacs in the same period. The share of commissioned shows in the revenues during was 84% while that of sponsored shows was 16%. Other income The other income for increased by 26% to Rs. 2, Lacs from Rs. 1, Lacs in on account of write back of excess provision of doubtful debts which were written off earlier. Cost of production of television serials There was a 41% decrease in cost of production of television serials to Rs. 10, Lacs for from Rs. 18, Lacs for because only 763 hours of content for commissioned show was created during the year from 929 hours in Moreover, the Company has also been able to successfully bring down the average cost of production per hour by adopting stringent cost control measures. Employee costs Although the company has brought down its manpower in absolute terms but the total employee cost for went up by 24% to Rs. 1, Lacs from Rs. 1, Lacs in as the Company hired experienced talent at the senior management level. Selling, General and Administrative expenses On the back of lower provisioning for doubtful debts and no provisions for diminution in value of long term investments, the total Administrative and other expense declined in by 49% to Rs. 3, Lacs from Rs. 6, Lacs in Depreciation The depreciation for stood at Rs. 1, Lacs from Rs. 2, Lacs in Last year one of the sets was depreciated at an accelerated rate (Impact Rs. 953 Lacs), being exclusively carried out for a serial which went off air.

10 Balaji Telefilms Limited Annual Report Revenue contribution from commissioned shows was Rs. 12,800 Lacs from Rs. 26,844 Lacs in , while that of sponsored programming was Rs. 2,444 Lacs from Rs. 2,648 Lacs in the same period. Profit before tax The profit before tax recorded a decline of 41% to Rs. 2, Lacs in from Rs. 3, Lacs in as the total revenue fell sharply by 48%. However, due to rise in other income the impact was mitigated to some extent. Profit after tax The profit after tax for decreased by 42% to Rs. 1, Lacs from Rs.2, Lacs in Financial position Share Capital As no capital was raised during the paid up share capital remained same at Rs. 1, Lacs. Reserves & Surplus The reserves and surplus increased by a modest 3% to Rs 38, in from Rs.37, Lacs in Fixed Asset The Gross Block in increased significantly by 52% to Rs. 14, Lacs from Rs. 9, Lacs in , on account of addition of land bought within the limits of Mira Bhayander Municipal Corporation for the purpose of building its studio. The net block increased by 101% to Rs. 8, Lacs in from Rs. 4, Lacs in This increase is on account of increase of Gross Fixed Assets. The capital work in progress stood at Rs Lacs for from Rs. 5, Lacs. Investments The investments of the Company decreased by 15% in to Rs. 20, Lacs from Rs 24, in on account of funding to the subsidiary company in line with the plans. The investments include Rs. 3,000 Lacs invested in the wholly owned subsidiary, Balaji Motion Pictures Limited. Working Capital During , the Company granted loan to the subsidiary company because of which the Loans & Advances for increased to Rs. 7, Lacs from Rs. 2, Lacs in On the other hand, the Company repaid its creditors which led to 38% decline in Current Liabilities to Rs. 2, Lacs in from Rs 3, Lacs in Hence, the working capital of the Company for recorded a rise of 131% to Rs. 10, Lacs from Rs. 4, Lacs in Future Strategies Corporate Level Grow beyond being a television content provider Further strengthen the professional identity De-risk and Diversify Revenue Model (channels, regional programming, other divisions) Establish ALT and Hoonur as recognized brands Expand management bandwidth

11 48 Television Maintain and consolidate the leadership in fiction space Launch new shows with different and new story lines at regular intervals Capture viewership beyond the prime time bands in major GECs, in non-prime hours, weekends and other channels Foray into creation of other Regional content like Marathi and Bangla Constantly analyze and evaluate the change in viewer preferences. Improve the type of show mix (horror, comedy, fiction, reality) Continue strict control on cost of production Films Rapidly scale-up film Create strategic template to produce and market larger number of films every year to enable strong pipeline and capability-building Align with best-in-class writing and directing talent to generate superior scripts and film content Span entire spectrum of film offerings from mass commercial to urban niche to address large and growing audience segments Consolidate marketing capability to build competitive advantage in the industry Kick-start development initiative at grass root level - first-time directors / actors / script writers Ramp up capabilities on distribution - domestic and international Emerge as a leading integrated production house with downstream integration into distribution and marketing of films. New Media Strengthen the Hoonur brand Develop hoonur.com as a full entertainment portal Monetization of Hoonur.com through subscriptions Consolidate and increase tie-ups with telecom companies for mobile contents Create mobisodes for reputed brands. Education Establish and stabilize this new venture Create a strong brand in education field as well Differentiate by delivering globally bench marked content in an innovative method. Gradually scale this across India Regularly broadbase its product offering